Following the shocking sound of a car crash, curtains open upon the scene of Frida Kahlo’s tragic trolley incident, with dancers laid out as if sporadically thrown centre stage, while glistening gold specs gently rain down on this human collage. It stays that way for some seconds, with the spectator feeling as though they’re standing in front of a painting... entranced by it and unable to look away. 

This marks the beginning of Frida Kahlo – Defining Moments, performed by Moveo Dance Company in June at the Manoel Theatre. 

Right from the start, the audience is captivated, and remains so as it sees Frida’s “broken body” become the protagonist of this piece. Moveo dancers begin to dramatically contort their bodies in an awkward fashion to heart-pounding music, as they vividly transmit Frida’s excruciating physical pain. No artistic stone was left unturned in the creation of this performance. One experienced this scene with an obscure “spinal” structure looming in the background, upon which Cindelle Bouard (performing as Frida) rests at the close of this chapter. 

Moveo’s dancers include Cindelle Bouard, Alexis Lemoine, Charlotte Carpentier, Gabriele Farinacci, Amelia Holdsworth, Victor Hernundstad.

The performance progresses to Frida’s love story with Diego Rivera and in turn her political involvement. Here, Alexis Lemoine lives up to his prominent role as Diego. He accurately conveys a feeling of success and popularity, which are understood to be those very properties that allure Frida into this phase of her life. 

The light-hearted and entertaining aura is rapidly turned into a poignant one, as the audience is taken to another of Frida’s tragic journeys – her multiple miscarriages.

In dead silence, Bouard delivers her intense interpretation of Frida’s miscarriages, through her sobs of pain, instantly making the spectator feel the childbearing mother’s devastation. The rest of the dancing cast gradually appear with attached “umbilical” cords, while the music so aptly depicts the scene, featuring distant infant cries, prohibiting anyone from feeling anything but the emotional agony of a mother losing a child.

Choreographer Diane Portelli spared no detail here, as she ensured her gruesome interpretation of this phase of Frida’s life is displayed in its raw form, accurately reflecting the way Frida’s art itself ‘told her story’. I could not help but feel the grief and despair of this mother.

The performance recounts different aspects of Frida Kahlo's life.

Just when one thinks this poor woman has been through enough, her beloved husband Diego is seen adding to her misery, as he has an affair with her own sister. At this point, the suffering she must endure nearly becomes unbearable to watch due to the visceral manner in which Lemoine, Bouard and Charlotte Carpentier float through narrating the story of this intense love triangle. 

The retelling of this story did not fall short as Portelli felt an epilogue was necessary. From the viewer’s perspective, the drastic change in tune and overall atmosphere initially seems disconnected from the whole performance previously experienced. However, as one recognises the flower headpieces, familiarity kicks in, all is reconnected and subsequently even more so appreciated. Finally, a representation of the legacy this icon left behind is portrayed, whereby her paintings “come to life”, reminding the audience of the very thing Frida Kahlo is originally known for – her art!

Every ounce of this show was thought out in detail and with great artistic strategy, be it the choreography, costumes (designed by renowned local designer Ritienne Zammit), lights, backdrop, down to the beautiful music which was originally composed by Albert Garzia in tandem with Portelli’s choreography. As for Moveo’s dancers, they continue to exceed expectations with their artistic talent, polished technique, and expressive interpretations.